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UNIVERSITY of CALGARY Richard Neutra UNIVERSITY OF CALGARY Richard Neutra: The ldealization of Technology in America Marc Boutin AMESIS SUBMITTED TO THE FACULTY OFGRADUATE STUDIES IN PARTIAL FULFIUMENTOFTHE REQUIREMENTS FOR ME DEGREE OF MASTER OF ARTS DEPARTMENT OF ART CALGARY, ALBERTA OCTOBER, 2000 O Marc Boutin 2000 National Libraiy Bibliothèque nationale 1*1 dCânûda du Canada Acquisitions and Acquisitions et Bibliographie Se~ices services bibliographiques 395 WePngton Street 395. nia WeUingtan OnavmON KlAON4 Ottawa ON K1A ON4 canada carda The author has granted a non- L'auteur a accordé une Licence non exclusive licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïh, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Richard Neutra's 1927 book Wie Baut Amerika? chronicles his search for an architectural vision based on American construction, zoning and transportation practices. Its central theme was the emergence of a new beauty, condiiioned by the Austrian émigré's belief in the heroic techno- logical promise of America. Two notable designs of this periad realized this ernergent beauty: the Lovell Health House (1927) and the unbuilt urban design project Rush City Refomed (1925- 30). As a result of Neutra's particular definition of beauty, these projects actualized a simultaneous conception of modem architecture as an avant-garde project, and its comptete translation within the realm of practice. This thesis, which draws from hitherto unpublished sources, explores how this synthesis defined a critical juncture in architectural history at a tirne when technology became questioned as a valid means to manifest modem architecture's utopian agenda. Consequently, new perspectives into the relationship between technology and architecture will emerge, and Neutra's relative significance within this context. PREFACE Historical perspectives on modem architecture have changed radically from the propagandists of early modemism known as the first pioneers, to the more objective and distanced scholarly work of the second generation of architectural historians, inctuding Reyner Banham, and finally to a third generation of architectural historians. These third generation scholars applied a post- modem critique in questioning modemism's eartier evolutionary argument in favor of a more inclusive and complex lineage of architectural thought during the modem period. In reflecting on the last few decades of scholarly work, wherein postmodemist thought puisued a critique of al1 bodies of knowledge and assumed facts, we can surmise that critique, although a valuable twl of inquiry, does not in itself project a future, but merely cautions that culture is relative and constnicted. Mindful of mis caution, this thesis examines an episode in the history of modem architecture as a vehicle to project new interpretations and contributions to the scholarly understanding of architecture. Architecturai history, conceived in this way, delves deeper into specific issues and ideas related to the making of our built environment, and supported by the critical distance that tirne has afforded, can identiiy themes that have consistently and powerfully affected how architecture as a cultural activtty unfolds and creates meaning. One such thême is the relationship between architecture and technology. The history of modem architecture, from the perspective of our critical distance, has been influenced by its relationship to technology. The first known use of the tenn modem architecture, in Otto Wagner's 1894 lecture entitled "Modeme ArchiteMuP, detailed the importance of a syrnbiotic relationship between advancements in technology and materials, and that of architec- tural fom. Al1 subsequent efforts by the pioneers of modem architecture, from the initiatives of the Deutsche Werkbund, through the evolution of the Bauhaus, were dedicated to the provision of appropriate cultural forms for a society that was being so radically changed by the emerging industrial and productive forces of the twentieth century. In the introduction to his 1960 book Theory and Design in the Rrst Machine Age, Reyner Banham stated that "...one Machine Age is more like another Machine Age than any other epoch the world has ever known. The cultural revolution that took place around 1912 has been superseded, but it has not been reversed."' The same can be said in regards to technology. Our present society and culture, although different in nature than both the first and second machine age, still must deal with the inheritance from these eras. Contemporary architecture, in any form, must address the impact of the homogenization effected by our productive forces in defining the elements, products, technologies and materials from which architecture is foned. That we, as architects and architectural historians, are less conscious of this force on Our work than were the architects and historians of the modem movement, merely underiines the importance of the reflection on this particular theme: the relationship between architecture and technology. This thesis explores this theme, specifically through the histoncal evaluation of the built work and the theoretical writing of Richard Neutra. Neutra was among the many modem architects who believed that technology was one of the critical factors defining an emerging international or universal style. Historical accounts of rnod- em architecture from the last thirty years have laid bare the rhetoric and propaganda that the early modem architects used to align themselves within the modem Zeitgeist. In these eariier histotical accounts, the emerging technology at the beginning of the twentieth century was seen as a means to legitimise a new architecture, and to distance this new architecture from the perceived burden of the styles of the past And though for rnany modem architecl new tech- nology was used simply as a rhetorical position, Neutra was unique in the manner and energy in which he pursued his concern with the "factualnessn of technology in the realization of an archi- tectural project. An even more crucial factor that distinguishes Neutra from other modem architects who were concerned with technology and its expression was the fact that he occupied a middle ground between architecture and building. It is clear from his writing that he did not support the idea of the architect as artisügenius. To this end, Neutra distanced himself from the perceived individualism of architects like Le Corbusier who understood architecture as an art form. However, how was Neutra different from those architects who were seemingly more objective in their approach to architecture? Certainly, Neutra was not a pure functionalist, the type of which is perhaps best represented by Bauhaus master Hannes Meyer. Meyer rejected architecture and the idea of the architect as creator, and in their place advocated building as a collective enterprise. Although both Meyer and Neutra distrusted subjective means of form-making, Neutra, unlike Meyer, still pursued the idea of beauty, albeit a new definition, whereas Meyer rejected the idea of beauty in its entirety. And for Meyer, architecture was a politically charged endeavour, whereas Neutra's work was entirely apolitical, propagating an architecture derived from a conceptual transparency to existing American technical practices, therefore furthering the diference beîween the two. However, this transparency to American technology and its products was not unqualified. For example, compared to the work of the American Albert Kahn, whose reputation reçted on his factory designs utilizing prefabricated elements to their fullest capacity, Neutra idealized these same products as the key to a new universal architecture, whereas the pragrnatic Kahn held no such preconceptions. Consequentiy, Neutra inhabits an interesting juncture in the history of modem architecture, vi imparting to him and his work a particular significance. Neutra tinked the European idealist tradition, which romanticized the machine and hypothesized its function as an utopian instrument, with the power of the American industrial engine. These two worids, one with a polemical basis removed from fertile grounds for implementation, the other, devoid of a theoretical basis for modem architecture, were woven through the work of Neutra. Two projects in particular, the Love11 Health House (1927) and the uhan vision of Rush City Reforrned (1925-1935), epitomized the link between these two worlds, translating the polemical European project into a technological realrty through the productive forces of America. This thesis is centered on these projects as a means to investigate the larger therne of the relationship between architecture and technology. A critical assumption made by this research is the perception of modem architecture's harmonization by 1927 as symbolized by the Weissenhofsiedlungin Stuttgart of that year. Concumng with Reyner Banham's assessment that this housing
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